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Journal articles on the topic 'Persian Music'

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Published: 4 June 2021
Last updated: 10 February 2022

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1

Danielson, Virginia, Jean During, and Zia Mirabdolbaghi. "The Art of Persian Music." Notes 49, no. 2 (December 1992): 607. http://dx.doi.org/10.2307/897936.

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2

B., S., Jean During, Zia Mirabdolbaghi, and Dariush Safvat. "The Art of Persian Music." Yearbook for Traditional Music 24 (1992): 172. http://dx.doi.org/10.2307/768492.

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3

Caton, Margaret, Jean During, Zia Mirabdolbaghi, and Dariush Safvat. "The Art of Persian Music." Asian Music 23, no. 2 (1992): 172. http://dx.doi.org/10.2307/834180.

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4

Blum, Stephen, and Hormoz Farhat. "The Dastgah Concept in Persian Music." Ethnomusicology 36, no. 3 (1992): 422. http://dx.doi.org/10.2307/851875.

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5

Danielson, Virginia, and Hormoz Farhat. "The Dastgah Concept in Persian Music." Notes 49, no. 1 (September 1992): 72. http://dx.doi.org/10.2307/897190.

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Caton, Margaret, and Hormoz Farhat. "The Dastgah Concept in Persian Music." Asian Music 23, no. 2 (1992): 168. http://dx.doi.org/10.2307/834179.

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7

Lewisohn, Jane. "Flowers of Persian Song and Music: Davud Pirniā and the Genesis of the Golhā Programs." Journal of Persianate Studies 1, no. 1 (2008): 79–101. http://dx.doi.org/10.1163/187471608784772742.

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AbstractThis article examines the 'Flowers of Persian Song and Music' (golhā) radio programs broadcast during the third quarter of the 20th century on the Iran National Radio. These programs—some 1,400 of which the author has collected and deposited in the British Library—constitute an unrivalled encyclopaedia of classical Persian music and poetry. The golhā programs introduced to the general public over 250 poets from the ancients to the moderns, and it preserved Persian classical music and fostered its future development. The seminal role played by Dāvud Pirniā in founding and producing these programs is examined and explored, while highlighting the various artists, poets, musicians, vocalists and scholars who performed in them.
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8

Nicholls, David, and Henry Cowell. "Persian Set. Set of Five." American Music 16, no. 2 (1998): 251. http://dx.doi.org/10.2307/3052577.

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9

Farhat, Hormoz. "The Evolution of Style and Content in Performance Practices of Persian Traditional Music." Musicological Annual 33, no. 1 (December 1, 1997): 81–89. http://dx.doi.org/10.4312/mz.33.1.81-89.

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10

Fujie, Linda, and Dieter Hauer. "Behnam Manahedji. Master of Persian Santoor." Yearbook for Traditional Music 26 (1994): 194. http://dx.doi.org/10.2307/768280.

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11

Ulaby, Laith. "Music and Mass Media in the Arab Persian Gulf." Middle East Studies Association Bulletin 40, no. 2 (December 2006): 213–22. http://dx.doi.org/10.1017/s0026318400049877.

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In the past, the majlis or dıwanıyah a sitting room used for socializing in many Gulf homes, was often a place of music-making. In recent years, however, the ‘ud, duff, and tabl have been supplanted by satellite TV, Wi-Fi Internet connections, and video game consoles. Other long-established music-making contexts in the Gulf have also disappeared, particularly songs associated with maritime occupations that were such an intrinsic part of life in the recent past. Some of these songs were performed as accompaniments to tasks on ships, such as pulling up the anchor or setting the sail, whereas others were songs of supplication, asking God for protection from the perils of the seas (Al-Taee 2005). Traditional music in the region has also suffered from the breakdown of original patronage systems, as wealthy merchants now seek to invest in skyscrapers and artificially created islands rather than support musical ensembles. With the disappearance of these traditional music-making contexts and support networks, mass media has increasingly become the primary mode of experiencing music, both old and new, in the region.
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12

Nettl, Bruno, and Amnon Shiloah. "Persian Classical Music in Israel: A Preliminary Report." Asian Music 17, no. 2 (1986): 69. http://dx.doi.org/10.2307/833899.

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13

Lewisohn, Leonard. "The sacred music of Islam:Samā’in the Persian Sufi tradition." British Journal of Ethnomusicology 6, no. 1 (January 1997): 1–33. http://dx.doi.org/10.1080/09681229708567259.

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14

Steward, Theresa Parvin. "Beyond a Politicization of Persian Cats." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 7–27. http://dx.doi.org/10.1163/18739865-01301001.

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Abstract In this article I assess the convoluted relationship between Iranian popular musicians and the Western media. Iranian music is generally discussed within a framework of resistance and Iranian musicians are often presented as political ‘revolutionaries’. In this process, many contradictions emerge; musicians crave publicity and recognition, yet resist it in an attempt to present an image of themselves as part of a subversive Iranian ‘underground’, a highly-laden term which in itself is much contested among Iranian musicians. By examining specific media representations, interviewing musicians, and portraying them in an Iranian film marketed toward Western audiences, Bahman Ghobadi’s No One Knows About Persian Cats (2009) illustrates how Iranian musicians exist in a multi-faceted world, beyond protest and defiance. Musicians actively participate in their representation in the media by simultaneously perpetuating certain collective images and attempting to portray a unique sense of self-identity.
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15

Johnston, Sholeh. "Persian Rap: The Voice of Modern Iran's Youth." Journal of Persianate Studies 1, no. 1 (2008): 102–19. http://dx.doi.org/10.1163/187471608784772760.

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AbstractPersian Rap, or Rap-e Farsi, is the latest craze in contemporary underground Iranian music, both with Iran and its extensive Diaspora. In Iran, rap is met with strong opposition from the Islamic government, but continues to enjoy immense popularity amongst web-savvy Iranian youths who consume the songs online through internet chat forums, websites, blogs and radio. This article examines the development of Persian Rap from an imitation of Afro-American "Gangsta" Rap, to a unique style of fusion rap with a distinctly Iranian identity, grounded in cultural tradition and a powerful social conscience.
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16

Blum, Stephen, Bruno Nettl, Carol M. Babiracki, Bela Foltin, Daryoosh Shenassa, Amnon Shiloah, and Jean During. "The Radif of Persian Music: Studies of Structure and Cultural Context." Notes 45, no. 2 (December 1988): 272. http://dx.doi.org/10.2307/941350.

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17

Danielson, Virginia, and Bruno Nettl. "The Radif of Persian Music: Studies of Structure and Cultural Context." Notes 51, no. 2 (December 1994): 619. http://dx.doi.org/10.2307/898898.

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18

Caton, Margaret, and Bruno Nettl. "The Radif of Persian Music: Studies of Structure and Cultural Context." Ethnomusicology 33, no. 2 (1989): 349. http://dx.doi.org/10.2307/924414.

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19

Drozhzhina, Marina. "The origins of Persiana in Russian Music: once again about the Persian Chorus from opera «Ruslan and Lyudmila»." Ideas and Ideals 2, no. 4 (December 15, 2017): 113–24. http://dx.doi.org/10.17212/2075-0862-2017-4.2-113-124.

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20

Stokes, M. "Touraj Kiaras and Persian Classical Music: An Analytical Perspective. By Owen Wright." Music and Letters 94, no. 1 (February 1, 2013): 196–98. http://dx.doi.org/10.1093/ml/gct028.

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21

Gurd, Sean. "Resonance: Aeschylus' Persae and the Poetics of Sound." Ramus 42, no. 1-2 (2013): 122–37. http://dx.doi.org/10.1017/s0048671x00000102.

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Scholars tend to agree that Aeschylus' choice of material for the Persae was overdetermined: the battle at Salamis and its lead-up constituted a moment of the highest trauma and pride for the Athenian demos, one that could be accommodated to a well-known narrative framework (that of great pride followed by a great fall) and exploited as an exploration of the relations between (Athenian) Greek and Persian other. But in this essay I propose to set aside the tragedy's ethical or ethno-political engagements. I want to focus instead on its auditory aesthetics—what it says about sound, and how it works with it. I think that the Persae is intensely and persistently engaged with sound; so much so, in fact, that at moments it comes closer than any other Athenian drama to a kind of ‘absolute’ music. In the final 40 lines of the play, for example, when extralinguistic cries increasingly predominate, the ‘script’ starts to read more like a score, prescribing the timbral and rhythmic part of a music whose pitches have been lost. Though I will not treat its engagements with the Persian ‘other’ directly, I do think that the Persae's interest in sound is related to its choice of setting and theme. Locating the action in Persia allowed Aeschylus to explore a poetic diction that could flirt with the thick edge of signification by invoking linguistic otherness; this facilitated a way of writing in which the materiality of language, that is, its status as sound, could become more palpable. In choosing to depict the Persian court as it learns the news of the defeat at Salamis, Aeschylus had the opportunity to represent an extreme form of lamentation, and by ideologically jacking up the stakes and transforming one military defeat into the fall of an empire, Aeschylus could go to the limits of language and beyond: the play ends with an extraordinary near-abandonment of signifying language in favour of non-verbal cries. Finally, Aeschylus' version of the battle of Salamis included the Greeks using sound as a psychological tactic; the story of the battle that is the kernel around which the play crystallised was itself a story of sound and its effects.
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22

Miller, Lloyd, and Bruno Nettl. "The Radif of Persian Music, Studies of Structure and Cultural Context in the Classical Music of Iran." Asian Music 25, no. 1/2 (1993): 272. http://dx.doi.org/10.2307/834212.

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23

Babiracki, Carol M., and Bruno Nettl. "Internal Interrelationships in Persian Classical Music: The Dastgah of Shur in Eighteen Radifs." Asian Music 19, no. 1 (1987): 46. http://dx.doi.org/10.2307/833763.

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24

Pouladi, Farzaneh, Mohammad Ali Oghabian, Javad Hatami, and Ali Zadehmohammadi. "Involved brain areas in processing of Persian classical music: an fMRI study." Procedia - Social and Behavioral Sciences 5 (2010): 1124–28. http://dx.doi.org/10.1016/j.sbspro.2010.07.247.

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25

Castellani, Victor. "Music of a Distant Drum: Classical Arabic, Persian, Turkish, and Hebrew Poems." European Legacy 19, no. 1 (November 7, 2013): 105–7. http://dx.doi.org/10.1080/10848770.2013.858869.

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26

Rapport, Evan. "Prosodic Rhythm in Jewish Sacred Music: Examples from the Persian-Speaking World." Asian Music 47, no. 1 (2016): 64–102. http://dx.doi.org/10.1353/amu.2016.0000.

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27

Nicholson, Rashna Darius. "“A Christy Minstrel, a Harlequin, or an Ancient Persian”?: Opera, Hindustani Classical Music, and the Origins of the Popular South Asian “Musical”." Theatre Survey 61, no. 3 (July 27, 2020): 331–50. http://dx.doi.org/10.1017/s0040557420000265.

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The story of South Asian colonial modernity and music offers up a multidirectional and polymorphous conceptual terrain featuring, among many agents, Hindustani royalty, touring minstrel and burlesque troupes, Jesuit missionaries and orientalists, and not least, social reformists. Nevertheless, scholarship on the history of Hindustani music consistently traces its development through classicization against the rise of Hindu nationalism while overlooking other palpable clues in the colonial past. This article argues for a substantial reevaluation of colonial South Asian music by positing an alternative and hitherto invisible auditory stimulus in colonial Asia's aural landscape: opera. Janaki Bakhle contends that “as a musical form, opera put down even fewer roots than did orchestral, instrumental Western classical music,” even though she subsequently states that “Western orchestration did become part of modern ceremonial activities, and it moved into film music even as it was played by ersatz marching bands.” Bakhle further argues that Hindustani music underwent processes of sanitization and systematization within a Hindu nation-making project, a view that has been complicated by historians such as Tejaswini Niranjana. Niranjana describes how scholarship that focuses exclusively on the codification or nationalization of Hindustani music through the interpellation of a Hindu public neglects “sedimented forms of musical persistence.” Not dissimilarly, Richard David Williams highlights how the singular emphasis on the movement of Hindustani music reform risks reducing the heterogeneous and complex musicological traditions in the colonial period to the output of a single, monolithic, middle-class “new elite.” Previous scholarship, he argues, concentrates on “one player in a larger ‘economy’ of musical consumption.” Following these calls for more textured perspectives on South Asian musical cultures, I suggest a somewhat heretical thesis: that opera functioned as a common mediating stimulus for both the colonial reinscription of Hindustani music as classical as well as the emergence of popular pan-Asian musical genres such as “Bollywood” music.
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28

Wendt, Caroline Card, Carl Signell, Sally Monsour, Patrician Shehan Campbell, and William M. Anderson. "Music of The Middle East: Arab, Persian/Iranian, and Turkish Traditions in the United States." Asian Music 22, no. 1 (1990): 161. http://dx.doi.org/10.2307/834298.

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29

Stolte, Carolien. "Map-Making in World History - an Interview with Kären Wigen." Itinerario 39, no. 2 (August 2015): 203–14. http://dx.doi.org/10.1017/s0165115315000431.

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This interview took place at Harvard University, where Kären Wigen, the Frances and Charles Field Professor in History of Stanford University gave the 2015 Reischauer Lectures. This year’s theme was ‘Where in the World? Map-Making at the Asia-Pacific Margin, 1600-1900.’ Carolien Stolte and Rachel Koroloff interviewed Professor Wigen to the tunes of Persian music at the Kolbeh of Kabob restaurant on Cambridge Street.
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30

Dabbagh, Hossein. "The Concept of Radif and Three Paradigms of Persian Music in Contemporary Iran." SOCRATES 5, no. 3and4 (2017): 19. http://dx.doi.org/10.5958/2347-6869.2017.00019.x.

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31

Gorji, Narjes, Reihaneh Moeini, and Seyyed Ali Mozaffarpur. "On the therapeutic applications and historical significance of Music Therapy in Persian Medicine." Advances in Integrative Medicine 6 (May 2019): S103. http://dx.doi.org/10.1016/j.aimed.2019.03.298.

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32

Henderson, David R., Kayhan Kalhor, Shujaat Hussain Khan, Swapan Chaudhuri, Brian Cullman, Bidur Mallik, Ramkumar Mallik, et al. "Lost Songs of the Silk Road: Persian and Indian Improvisations: Ghazal." Ethnomusicology 47, no. 2 (2003): 280. http://dx.doi.org/10.2307/3113930.

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33

Abedi, Behzad, Ataollah Abbasi, Atefeh Goshvarpour, Hamid Tayebi Khosroshai, and Elnaz Javanshir. "The effect of traditional Persian music on the cardiac functioning of young Iranian women." Indian Heart Journal 69, no. 4 (July 2017): 491–98. http://dx.doi.org/10.1016/j.ihj.2016.12.016.

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34

Maconie, Robin. "MESSAGE OF ‘LIGHT’: GOETHE, STOCKHAUSEN AND THE NEW ENLIGHTENMENT." Tempo 58, no. 230 (October 2004): 2–8. http://dx.doi.org/10.1017/s0040298204000270.

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At sixty-five a new and sustained inspiration had set him off writing poems in emulation of the fourteenth-century Persian lyricist Hafiz. … Reflection and evocation sometimes have an almost mystical intensity as past insight and experience are concentrated in fresh perceptions of beauty. The poet can see the woman he loves in every shape and stimulus of the sensible world … In loving her, he loves the world and whatever god is immanent in it; none of these loves is merely a derivate of any other, they compose a single embracing reverence…. He also discovers a sense of unity across historical time…. Life resolves into archetypes. Even so, the freshness and value of each new occasion stays intact. Archetype, recurrence, myth – the perspective they offer never blurs or attenuates the single instance.
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35

GRANOT, RONI, and NABIL SHAIR. "The Origin and Power of Music According to the 11th-Century Islamic Philosopher Ibn Sīnā." Journal of the Royal Asiatic Society 29, no. 4 (August 22, 2019): 585–98. http://dx.doi.org/10.1017/s1356186319000178.

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AbstractThe question of the origin of music and its powers has always fascinated philosophers and scientists. Here we present a close reading of the view offered by the Persian Muslim philosopher and scientist Ibn Sīnā, also known as Avicenna (980–1037). We draw a parallel between Ibn Sīnā’s account of the senses and mental capacities and his hierarchical, quasi-evolutionary view of the perception of sound in its various communicative roles. We show how Ibn Sīnā positions music at the top of the organisation of sound while drawing a connecting line between the sensory and cognitive, the natural and conventional, and the biological and aesthetic. Although mostly drawing on ideas previously expounded by Aristotle and al-Fārābī, he goes way beyond his predecessors in positioning music within the systems of communication and highlights music's special ability to create a flux of joy and sadness, tension and relaxation, based on the ephemeral character of sound that serves as a connecting thread through all levels of its communicative roles.
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36

Hemmasi, Farzaneh. "Iran's daughter and mother Iran: Googoosh and diasporic nostalgia for the Pahlavi modern." Popular Music 36, no. 2 (May 2017): 157–77. http://dx.doi.org/10.1017/s0261143017000113.

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AbstractThis article examines Googoosh, the reigning diva of Persian popular music, through an evaluation of diasporic Iranian discourse and artistic productions linking the vocalist to a feminized nation, its ‘victimisation’ in the revolution, and an attendant ‘nostalgia for the modern’ (Özyürek 2006) of pre-revolutionary Iran. Following analyses of diasporic media that project national drama and desire onto her persona, I then demonstrate how, since her departure from Iran in 2000, Googoosh has embraced her national metaphorization and produced new works that build on historical tropes linking nation, the erotic, and motherhood while capitalising on the nostalgia that surrounds her.
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37

Pennanen, Risto. "Lost in scales: Balkan folk music research and the ottoman legacy." Muzikologija, no. 8 (2008): 127–47. http://dx.doi.org/10.2298/muz0808127p.

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Balkan folk music researchers have articulated various views on what they have considered Oriental or Turkish musical legacy. The discourses the article analyses are nationalism, Orientalism, Occidentalism and Balkanism. Scholars have handled the awkward Ottoman issue in several manners: They have represented 'Oriental' musical characteristics as domestic, claimed that Ottoman Turks merely imitated Arab and Persian culture, and viewed Indian classical raga scales as sources for Oriental scales in the Balkans. In addition, some scholars have viewed the 'Oriental' characteristics as stemming from ancient Greece. The treatment of the Seg?h family of Ottoman makams in theories and analyses reveals several features of folk music research in the Balkans, the most important of which are the use of Western concepts and the exclusive dependence on printed sources. The strategies for handling the Orient within have meandered between Occidentalism and Orientalism, creating an ambiguity which is called Balkanism.
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38

Russell, J. R. "Parsi Zoroastrian Garbās and Monājāts." Journal of the Royal Asiatic Society of Great Britain & Ireland 121, no. 1 (January 1989): 51–63. http://dx.doi.org/10.1017/s0035869x00167863.

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It is a strange circumstance, yet one immediately observable, that the Parsi community in India, so innovative and so energetically creative in many other respects, has failed to distinguish itself in the sphere of indigenous arts. In the acquisition of tastes and skills in European or hybrid pseudo-Persian architecture, in European-style portraiture, and in Classical music, the Parsis have been diligent, even as they long ago became eloquent masters of the English tongue. What of their arts can properly be called Zoroastrian?
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39

Sema, Daniel. "EXOTIC SCALE DALAM LINTASAN SEJARAH." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 2 (December 9, 2019): 49–58. http://dx.doi.org/10.37368/tonika.v2i2.101.

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Exotic scale (exotic or foreign scales) is a scale that is not covered by Western musical traditions that is outside the major and minor systems. The number of notes in an exotic scale can be less than one octave (for example pentatonic scale) or can be more (for example octatonic scale). Exotic scales are also used to refer to certain cultural scales, for example the Persian or Hungarian scales, or certain composer finding scales, for example whole tone scales, or scales borrowed from types of capital music, such as jazz or world music . This is because these types of music do not heed the tuning system, melodic forms and aesthetic principles of Western tradition. The exotic scales basically existed long before the birth of major and minor systems. For the composer of the twentieth century the sound of this unique exotic scale became the main attraction after more than three hundred years lost by the dominance of the major-minor (1600-1900). In fact, there is now a tendency for exotic scales to be used by musicians to show the composer's identity.
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40

Sedaghat, Amir Artaban. "Rūmī’s Verse at the Crossroads of Language and Music." Mawlana Rumi Review 9, no. 1-2 (January 3, 2020): 91–128. http://dx.doi.org/10.1163/25898566-00901007.

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AbstractThis article demonstrates how Rūmī has made use of the Iranian musical system and Persian classical prosody, two separate semiotic systems with overlapping forms and aesthetic principles, in order to create a hybrid semiotic system in his poetry. His poetic feat can be observed through a comparative analysis of the linguistic and musical components of his poems in the Divān-e Shams-e Tabrizi, used extensively in the sacred tradition of samāʿ as well as in Iranian musical performances. This essay shows how the systematic use of rhythm and music in versification reaches new heights in Rumi’s ghazals, where the combination of language and music gives birth to a transcendental mode of expression devised with the aim of expressing the ineffable Ultimate Truth. Rumi employed this unique sign system to communicate a mystical message that cannot be conveyed using ordinary language. His unparalleled means of expression, in direct relation with the mystic experience of wajd, is used to incarnate what Sufis call maʿnā (the archetypal meaning). These archetypal ideas cannot be understood through dialectic means of the intellect but can only be taken in by the heart of the mystic in a state of ecstasy.
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41

Tourage, Mahdi. "The Eighth Biennial Conference of the International Society for Iranian Studies." American Journal of Islam and Society 27, no. 3 (July 1, 2010): 147–49. http://dx.doi.org/10.35632/ajis.v27i3.1323.

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The Eighth Biennial Conference of the International Society for IranianStudies (ISIS), the largest international gathering of scholars in the field, washeld in Santa Monica, CA, on 27-30 May 2010. There were sixty-four panels,each with three to four presenters addressing topics ranging from literature,Shi`ism and Sufism, to modernity, politics, women and gender. Amongthe ones that I found most interesting were “Women’s Worlds in Qajar Iran,”“Engagements with Reason: Shi`ism and Iran’s Intellectual Culture,” “PersianLiterary and Cinematic Representations of a Society in Transition,”“Shi’i Modernity, Constitutionalism, Elections, and Factional Politics,”“Reconstructing the Forgotten Female: Women in the Realm of the Shahnama,”“Zones of Exploration: Society, Literature, and Film,” “Re-ReadingIranian Shi`ism: International and Transnational Connections and Influence,”“The Politics of the Possible in Iran,” “Women’s Issues in ModernIran (in Persian),” “Discourses on Self And Other,” and “Sufism: Poetry andPractice.”Also featured were classical Persian music presentations and additionalroundtable discussions. One telling example of often overlooked aspects ofIranian society was “‘Waking Up the Colours: Candour and Allegory inWomen’s Rap Texts,” a paper on Iranian women’s rap music. Presenter GaiBray, an ethnomusicologist, argued that unlike the common conception ofrap as direct language, Iranian female rappers often use allegory to deal withdifficult subject matters, such as rape and prostitution. In another memorablepaper Babak Rahimi (University of California, San Diego) argued thatBushehr’s commemoration of Ashura serves to solidify communal identity.The ritual ends by burning the stage upon which the performances tookplace, signifying a communal act of creative destruction through which newidentities are reconstructed via building new ritual sites ...
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42

Baily, John. "Amin-e Diwaneh: the musician as madman." Popular Music 7, no. 2 (May 1988): 133–46. http://dx.doi.org/10.1017/s0261143000002713.

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While engaged in research on the long-necked lute called Herati dutār in 1974, I was frequently told about a virtuoso dutāri (dutār player) who had died a few years earlier after a fight with a gang of ‘thugs’ in the city of Kandahar. His name was Amin-e Diwaneh. The Persian word diwāneh means ‘crazy’, and was applied to people who (in terms of Western psychiatry) might be classed as ‘insane’, though the cause of insanity was usually attributed to spirit possession. Diwāneh was also a description for individuals who were particularly erratic in their behaviour, and was often used affectionately. Amin the dutāri was such a person.
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43

Jawed Abed, Fatima. "تجزيه ى روساختى جمله فارسى analyzethe Surface Structure of Persian Language." Journal of the College of languages, no. 42 (June 1, 2020): 308–29. http://dx.doi.org/10.36586/jcl.2.2020.0.42.0308.

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جمله در زبان فارسی اين همهءچيز كه در معنى ومفهوم مستقل مى باشد . جمله فارسى از اركان مى باشد. كه ساختمان جمله فارسى ازاين اركان مى باشد.که اركان جمله اين اجزاى جمله فارسى است همه اجزاى جمله در جاى هاى مختلف مى باشد. كه اقسام جمله فارسى سه اقسام است . اقسام جمله ازجهت معنى،ازجهت فعل،اقسام جمله ازجهت معنى مستقل است. روش تجزيه ی روساختى جمله فارسى يعني تجزيه ى اجزاى جمله فارسى به نمونه هاى مختلف ازحيث واژهاى جمله است . مى توان كَفت كه تجزيه جمله به دوجهت نهاد وكَزاره ياقيد وكَزاره ياجمله هاى مركب پايه است. Abstract The sentence is one building unit in a music that has a full meaning which in the end takes a long silence .The sentence bases made the sentences with intransitive verb ( non connection ) and the sentences are made with general verb (connection ) .The sentence parts :Verbal sentence –supportive sentence , sentence without a verb . The method of divide the sentence into these syntax units ( face division ) or (analysis and to each of the syntax units resulted from dividing the sentence to sections made to the end the characterizes the smaller syntax units ,the words .The method of analyze the surface structure of Persian language sentence is exchange method.
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44

Pouladi, Farzaneh, Afsaneh Moradi, Reza Rostami, and Masood Nosratabadi. "Source localization of the effects of Persian classical music forms on the brain waves by QEEG." Procedia - Social and Behavioral Sciences 5 (2010): 770–73. http://dx.doi.org/10.1016/j.sbspro.2010.07.182.

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45

Hijleh, Mark. "Touraj Kiaras and Persian Classical Music: An Analytical Perspective. By Owen Wright. pp. 134. Aldershot, Ashgate, 2009." Journal of the Royal Asiatic Society 20, no. 4 (October 2010): 540–42. http://dx.doi.org/10.1017/s1356186310000428.

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46

Salekmoghaddam, Alireza, Alireza Salek Moghddam, Saba Arshi, Hassan Ashayeri, and Gholomreza Azadi. "Comparison of Influences of Three Types of Music (Western, Classical, Traditional Persian and Pop) on Immunological Parameters." Clinical Immunology 123 (2007): S76. http://dx.doi.org/10.1016/j.clim.2007.03.394.

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47

Cannon, Garland, and Andrew Grout. "British Orientalists' co-operation: a new letter of Sir William Jones." Bulletin of the School of Oriental and African Studies 55, no. 2 (June 1992): 316–18. http://dx.doi.org/10.1017/s0041977x0000464x.

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The purpose of this Note is to make available to scholars the text of a new letter by Sir William Jones (1746–94) to Richard Johnson (1753–1807), recently discovered in an antiquarian book and manuscript catalogue issued in 1924 by Maggs Brothers, the London dealers, and otherwise unpublished and unrecorded.Johnson, an important though neglected figure in the history of the British ‘discovery’ of Hinduism, held a number of influential posts within the East India Company's administration during his sojourn in India from 1770 to 1790. But it is for his investigations into Indian literature and music, including his substantial and important collection of Indian miniatures and Persian and Sanskrit manuscripts, that he deserves to be better known.
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48

Wright, David, Manhattan Chamber Orchestra, and Richard Aulden Clark. "Henry Cowell: Persian set; Hymn and Fuguing Tune for String Orchestra; American Melting Pot; Air for Violin and Strings; Old American Countruy Set; Adagio for String Orchestra." Musical Times 135, no. 1811 (January 1994): 46. http://dx.doi.org/10.2307/1002846.

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49

Tavakkol, Ekhsan. "Extra-musical content and ways of its embodiment in the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by Reza Vali." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 264–80. http://dx.doi.org/10.34064/khnum2-18.15.

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Background. This article discusses the features of the program, the origins and symbolism of extra-musical images of the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by the Iranian-American composer of the XX–XXI centuries Reza Vali. There are also some features of the Concerto’s musical material analyzed: the form, instrumentation, and thematic, as well as the influence of Iranian musical traditions. There are no published scientific musicological materials devoted to the consideration of this Concerto from the point of view the comprehensive analysis. In periodical non-scientific literature, only four publications were found regarding this work. These include the article by the American writer Marakay Rogers, in which she gave a brief overview of the music of the Concerto and expressed her favorable impression of the composition. We also have the short article-annotation of American musicologist Brent Reidy and the article by American writer and journalist Lee Passarella written in connection with the release of the album, and the fragment of the interview by American musicologist Ellen Moysan with Reza Vali, where the composer spoke about the using Persian musical system in the Concerto for Ney and Orchestra. The purpose of this article is to consider the specifics of the Concert for Ney and Orchestra by R. Vali in the aspect of the author’s embodiment of the chosen program, as well as the peculiarities of Iranian traditional culture and music and their influence on professional academic music. Methods. The historical method was used to uncover the genesis of the “Sama” genre, also to study the genre features of the Concerto cycle; for considering the features of the structure and thematism of the Concerto the system-analytical method was used. Research results. The Concerto for Persian Ney and Orchestra “Toward That Endless Plain” was created by Reza Vali in Boston in 2003. In the composer’s legacy, this is the second big work in the concerto genre (for solo instrument and orchestra) and the first his work for an orchestra, which he composed on the base of the Persian traditional musical system. In addition to this Concerto, the composer wrote the Concerto for Flute and Orchestra (1992) and the Concerto for Kamanche and Ney with Orchestra (2009). The peculiarities of the musical material and its development are determined by the composer’s comprehension of the poem “Call of the Beginning” of the 20th century Iranian poet Sohrab Sepehri. Recreating the main images of the poem in the Concerto – the images of a mystic lonely traveler and aggressive surrounding world opposed to him – R. Vali touches on the topics of conflicting relations between an individuality and a society, the tragic panhuman events of our time, and also – of the searches of a lonely person on his spiritual path to God. Understanding the origins of the Concerto’s program and the essence of the images will allow performers and listeners to more deeply penetrate the spirit and idea of the composition. The program of the Concerto is presented as following: the name, epigraph, headings for each part and the author’s notes to the program. The theme, the idea, the content and the images of the Concerto and its connection with the tragic events of the modern world are expressed through the philosophy of Sufism and the symbols contained in it, that was used around 800 years ago by Jalal ad-Din Muhammad Rumi. Reza Vali believes that Sohrab Sepehri contacts the philosophy of ancient poets to the literature of the 20th century. To express the basic musical idea – the search for the path of a human to God and the achievement of unity with him – the composer turns to the solo timbre of the Persian wood wind instrument Ney, which is the bearer of the image of sadness, loneliness, separation from the motherland. The sound of Ney, associated with spiritual search, is presented in Parts I, II and III of the Concerto. In Prelude and Interlude, Ney does not play anything. The theme of the danger is embodied in the Prelude and Interlude through the atonal technique and dissonant sounds of the instruments of the symphony orchestra that associates with the tragic war events that threaten all of humanity and their consequences. R. Vali used both, the European musical (three-part) form and the structures inherent in Iranian music (the mosaic form in Parts I and III based on the classical repertoire of Iranian music (Radif), and the Nobat form in Part II). The structure of the cycle is due to the program concept; its specifics are two additional sections designated as Prelude (before Part I) and Interlude (between Parts II and III). The program led to a change in the sequence of tempo characteristics of the parts in the overall composition of the cycle, which is different from genre customary in a concerto of Western European music. In the R. Vali’s Concert, Parts I and III are slow and Part II is fast. All the headings of the parts correlate with the mystical philosophy of Sufism. The author represents the headings in the score in two languages – Iranian and English that allows a deeper clarification of their semantic characteristics: “Prelude” – “Сhezolmát” / “The Abyss”; Part I – “Gozar” / “Passage”; Part II – “Sámâ” / “Ecstatic Dance”; “Interlude” – “Bargasht” / “Return to the Abyss”; Part III – “Foroud va Fánâ” / “Descent and Dissolve”. In figuratively semantic plan, Prelude and Interlude are in opposition to the three main parts of the Concerto. The cruel, destructive images of the material world that presented in Prelude and Interlude are set against the world of concentrated contemplation, the search of spiritual path for a person, recreated in the I, II and III Parts of the cycle. The musical language of the Concerto has roots in the vocal and instrumental Iranian traditional music – the ancient Dastgāh modal system and maqam forms. The medium size of the symphony orchestra is used in the Concerto. The group of brass and percussion instruments is especially important in creating the atmosphere of cruelty and violence and achieving the wild harsh sound. For showing an impending catastrophe, in finish fragment of Prelude, the composer introduces large and small electronic sirens into the orchestra. Conclusions. The extra-musical content and images of the R. Vali’s Concerto for Persian Ney and Orchestra and its connection with the tragic events of the modern world history are expressed through the philosophy of Sufism and its symbols. These philosophical ideas, images and symbols are embodied by the composer on various levels of the work as the structural and artistic integrity: 1) at the level of the structure of the modified three-part cycle; 2) in cycle’s tempo organization; 3) in the use of the system of the traditional Iranian music (dastgāh and maqam) in I, II, III parts; 4) in the use of principally distinct thematism in the Prelude and Interlude in comparison with the main parts; 5) at the level of the timbre and texture organization – in the semantization of the Ney‘s timbre and in multifarious, in terms of imagery, interpretation of the orchestra.
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Tabarrai, Malihe, Monireh Sadat Motaharifard, Laila Shirbeigi, Reihane Alipour, and Maryam Sadat Paknejad. "Physical Activity and Exercise Recommendations for Children in Persian Medicine: A Narrative Review." Journal of Pediatrics Review 8, no. 4 (October 1, 2020): 247–54. http://dx.doi.org/10.32598/jpr.8.4.864.1.

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Context: Persian Medicine (PM) scientists such as Avicenna (980‑1037 AD) believed that maintaining health without exercise is impossible. So they have written about special rules and various techniques for the exercise of different groups of people including children. This study aimed to express the PM views about the exercise in children. Evidence Acquisition: Among the most important references of PM in children’s subjects, six books from different centuries were selected. Relevant keywords were used to extract related data. Also, PubMed, Science Direct, and Google Scholar databases were searched up to July 2019 to find common views on physical activity and exercise in children. The extracted materials were thoroughly studied to summarize and categorize to find the main themes. Results: According to PM, exercise is a broad concept, including massage of the upper and lower limbs from the first hours of life, physical activity like crying for feeding and playing, passive movements such as cradle shaking and swinging, and proper and frequent experience of mental states and five senses such as winning/losing, enjoying, listening to music and looking at fine writings. The intensity of exercise varies in different children. Vigorous exercise in children changes the body composition, results in weakness, or impairs the growth and development. So, according to Avicenna, exercise must be planned individually. Conclusions: It seems that the principles of PM can help design available, different, enjoyable, and user-friendly exercises for children of all ages.
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